4,928 research outputs found
The Spatial Implications of Creative Collaboration Spaces
Architecturally influenced, specialized spaces for storytelling disciplines will create a place of collective learning that promotes social interaction and creative cross pollination. Multifunctional spaces that use architecture to target the social dimension may become a vehicle for testing this contention. The vehicle would be a ‘storytelling incubator space’ that will specialize in film/animation/comics and other storytelling medium, thus resulting in a multi-use space that’s purpose is to create a place of collective learning. Using architecture as a motivator, the space would have highly specific workstations with spatial elements that would directly influence workflow and collaboration between students/people
Storrytelling and Its Mediums: The Spatial Implications of Creative Collaboration Spaces
For this specific thesis we will be focusing our area of study of ‘storytelling’ on Film/Cinema, Animation and Comics. The three disciplines require highly creative people who are required to be multi-talented, as well as collaborate highly with one another. This coerced collaboration is one key point of study for this thesis
Progressive surface modeling scheme from unorganised curves
This paper presents a novel surface modelling scheme to construct a freeform surface
progressively from unorganised curves representing the boundary and interior characteristic curves.
The approach can construct a base surface model from four ordinary or composite boundary curves
and support incremental surface updating from interior characteristic curves, some of which may not
be on the final surface. The base surface is first constructed as a regular Coons surface and upon receiving an interior curve sketch, it is then updated. With this progressive modelling scheme, a final
surface with multiple sub-surfaces can be obtained from a set of unorganised curves and transferred
to commercial surface modelling software for detailed modification. The approach has been tested
with examples based on 3D motion sketches; it is capable of dealing with unorganised design curves
for surface modelling in conceptual design. Its limitations have been discussed
Using Stop Motion Animation to Sketch in Architecture: A practical approach
Widely acknowledged as an archetypal design activity,
sketching is typically carried out using little more than pen
and paper. Today’s designed artifacts however, are often
given qualities that are hard to capture with traditional
means of sketching. While pen and paper sketching
catches the character of a building, it may not equally well
capture how that building changes with the seasons, how
people pass through it, how the light moves in between
its rooms from sunrise to dawn, and how its façade subtly
decays over centuries. Yet, it is often exactly these dynamic
and interactive aspects that are emphasised in
contemporary design work. So is there a way for designers
to be able to sketch also these dynamic processes?
Over several years and in different design disciplines, we
have been exploring the potential of stop motion
animation (SMA) to serve this purpose. SMA is a basic
form of animation typically applied to make physical
objects appear to be alive. The animator moves objects in
small increments between individually photographed
frames. When the photographs are combined and played
back in continuous sequence, the illusion of movement is
created. Although SMA has a long history in filmmaking,
the animation technique has received scarce attention in
most design fields including product design, architecture,
and interaction design. This paper brings SMA into the
area of sketching in architecture by reporting on the
planning, conduct, result, and evaluation of a workshop
course carried out with a group of 50 students at Umeå
School of Architecture, Umeå University, Sweden
Space-time sketching of character animation
International audienceWe present a space-time abstraction for the sketch-based design of character animation. It allows animators to draft a full coordinated motion using a single stroke called the space-time curve (STC). From the STC we compute a dynamic line of action (DLOA) that drives the motion of a 3D character through projective constraints. Our dynamic models for the line's motion are entirely geometric, require no pre-existing data, and allow full artistic control. The resulting DLOA can be refined by over-sketching strokes along the space-time curve, or by composing another DLOA on top leading to control over complex motions with few strokes. Additionally , the resulting dynamic line of action can be applied to arbitrary body parts or characters. To match a 3D character to the 2D line over time, we introduce a robust matching algorithm based on closed-form solutions, yielding a tight match while allowing squash and stretch of the character's skeleton. Our experiments show that space-time sketching has the potential of bringing animation design within the reach of beginners while saving time for skilled artists
Investigating facial animation production through artistic inquiry
Studies into dynamic facial expressions tend to make use of experimental methods based on objectively manipulated stimuli. New techniques for displaying increasingly realistic facial movement and methods of measuring observer responses are typical of computer animation and psychology facial expression research. However, few projects focus on the artistic nature of performance production. Instead, most concentrate on the naturalistic appearance of posed or acted expressions. In this paper, the authors discuss a method for exploring the creative process of emotional facial expression animation, and ask whether anything can be learned about authentic dynamic expressions through artistic inquiry
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